The Vision of the Kapellmeister’s Functions in the XVI–XVIII centuries: Based on Adolf Chybiński’s Thesis

The purpose of the article is to outline the tasks, forms, methods, and objectives of the kapellmeister’s activities in the XVI–XVIII centuries, based on Adolf Chybiński’s thesis “Beiträge zur Geschichte des Taktschlagens” (1912); to explore the possibility of incorporation of European experience by contemporary Lviv regent-kapellmeisters; and to outline directions for further research on Chybiński’s thesis. The methodology of this research combines historical, cultural, musicological, systematic-analytical, comparative, and empirical methods with textual analysis. The results. The article outlines the tasks, forms, methods, and objectives of the kapellmeister’s activities in the XVI–XVIII centuries. It defines the theoretical knowledge, practical skills, and personal qualities which were necessary for kapellmeister activities at the time, and traces the evolution of forms and methods for conducting collective music performance. The main factors that contributed to the gradual transformation of the vision of kapellmeister objectives from routine loud timekeeping to the art of conducting interpretation are identified. The article discovers the possibility of incorporation of European experience by contemporary Lviv regent-kapellmeisters, and outlines directions for further research on Chybiński’s work as a newly discovered scientific artifact. The scientific novelty of this article lies in introducing a previously little-known scientific work by the renowned medievalist Adolf Chybiński into academic circulation. Conclusions. In the XVI–XVIII centuries, the tasks of the kapellmeister included effectively managing the musical performance process, as well as performing analytical, editorial, and compositional functions. Fulfilling such a complex set of tasks required a syncretic unity of theoretical knowledge and practical skills. A key requirement for a kapellmeister candidate was having authority among colleagues, based on profound theoretical knowledge, performance experience, and musical understanding. The professionalism of a kapellmeister was determined by his knowledge of all contemporary styles (church, chamber, theatrical) and his ability to perform them. The kapellmeister’s functions were carried out in various forms: participating directly in the creation of music; managing music performance using a conducting staff or visual means of manual technique. During the specified period, there was an evolution of methods for managing collective music-making from “noisy timekeeping” with the conducting staff to modern “silent conducting”. Long-standing theoretical discussions and factors within the performance environment led to the gradual transformation of the vision of kapellmeister objectives from the routine of loud timekeeping to the art of conducting and the understanding that the conductor’s main function is artistic interpretation. The involvement of parts of Ukrainian lands in contemporary European cultural processes, the assimilation of musical-theoretical concepts, and compositional techniques required Lviv regent-kapellmeisters to adopt practical performance experience. The practical significance of this article lies in identifying directions for further research on A. Chybiński’s thesis, aiming to republish this work in Ukrainian with appropriate analytical support and commentary. Such a publication will be useful for musicologists, educators, and practicing conductors.